Word: comicly
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...some campus groups steer clear of political commentary. Members of Two Drink Minimum, a stand-up troupe formed three years ago at Kenyon College in Gambier, Ohio, say their primary comic mission is to get laughs by exploring the daily lives of their fellow students. "Being on a liberal campus, it would be far too easy to do a Bush bash," says Davy Andrews, 22, co-president of the troupe. "We've taken our shots at authority, but being funny is by far our first concern...
...through the lens of consumption: food, recipes, and other food-related texts. She asks, smiling, “How does an entire region or nation become ‘spicy’? What does it mean to be spicy?” While amusing on the surface, these seemingly comic questions lead into much bigger inquiries into the history of colonialism, the spice trade, issues of class and gender, and the words that artists choose to represent cultures. She says of recipes, “They are a cultural memory, a piece of text, art, that moves and evolves from...
...Parpalaid seems at first a conventional bumbling, foppish Old Boy, but comes to take on dramatic importance as a symbol of the traditional, pre-Knock way of life. Fishburn’s ability to command a scene works well for him here: his authoritative joviality makes him a convincingly comic, seemingly harmless persona at first, but allows him to also assume the role of a compelling dramatic character at the climax of the play...
Simon J. Williams ’09 also proves himself a strong new talent to watch as Mr. Mosquet; he has a fine comic touch as a beleaguered pharmacist with a grudge against Parpalaid who eventually becomes Dr. Knock’s first disciple. Laurel T. Holland ’06 performs also well as the “Lady in Violet,” an ingenuous rich actress who is easily convinced of her need for Dr. Knock’s restorative talents. She brings a delightful flippancy and self-awareness to her role...
...advocates that this is “not [her] style” and that she sought to “take the story that’s offered… on its own terms.” Myhrum suggests that this approach both exposes the ever-appreciated comic chaos of Gilbert and Sullivan’s work and the beauty of a script that “does something to get in touch with human emotion,” she says...